Varese : the chamber works of the 1920's: detailed analyses of Hyperprism, Octandre and Integrales.

PREFACE
The object of my analysis of Hyperprism, Octand.re and Intgrales is to
explain the mechanics of the construction of Varse's works and., thereby,
reveal his concept of music, in general, and the consequent treatment of
the various parameters of music, in particular. These analyses have been
written in a way that assumes almost constant reference to a score. In
the text I refer the reader to bar numbers in the music for ease of the
accurate pin-pointing of specific events. In the score of Intgrales
bar numbers can be easily calculated because the rehearsal figures occur
at ten-bar intervals; starting with figure D] which is bar 11, therefore, figure j] is bar 21 etc.
When discussing the length of sections within a work I sometimes refer
to the number of beats and at other times the length of a section is
described in seconds. The reason for this is that when the portion of
music being discussed is governed by a Bingle tempo indication the length
can accurately be described in number of beats, but when changes of tempo
are involved a time value is necessary in order to be able to effectively
compare the length of one section with another.
Note-groups describe all the chromatic tones used in between, and including,
the named outer notes in ascending order, i.e. the note-group B-F consists
of the tones B, C, C, D, D, E, F.
In order to simplify matters, brass and woodwind instruments are collectively described as "wind" instruments and wide intervals, such as